- The real architecture exists only in drawings, while the real building exists outside of the drawings. Architecture and buildings are not the same. - American architect Peter Eisenman is known for radical designs and deconstructivist theories. He pioneered computer-aided design and dealt with form through formalism, deconstruction, and "weak form". - Eisenman designed the unconventional Wexner Center for the Arts at Ohio State University, linking the past to the present through distorted geometries that combine medieval and modern elements in a new spatial matrix.

1. “The real architecture only exists in the drawings
and the real building exists outside the drawing.
Architecture and the buildings are not the same.”
Peter Eisenman

2. Peter Eisenman
• American architect known for his radical designs and architectural theories.
• Notable for his involvement with Derrida’s Deconstructivist projects and his
pioneering use of computer-aided
• designs. He is often characterised as a deconstructivist.
• “ Form formalism to weak form”.
• He mainly deals with form in all its declinations :Formalism, de-composition.

3. Wexner
Center
for
the
Arts

4. • Location: Ohio State University,Ohio
• Building Type :University arts center.
• Construction System :steel, concrete,
glass.
• Included in the Wexner Center space
are a film and video theater, a
performance space, a film and video
post production studio, a bookstore,
café, and 12,000 square feet (1,100
m²) of galleries.
Wexner
Center
for
the
Arts
CONCEPT
LINKING THE PAST TO THE PRESENT THROUGH THE
USE OF UNCONVENTIONAL MEANS

5. LINKING THE PAST TO THE
PRESENT THROUGH THE
USE OF
UNCONVENTIONAL
MEANS
Wexner
Center
for
the
Arts

6. Interior pathway
Design process
Wexner
Center
for
the
Arts

7. The
City
of
Culture,
Galicia

8. DESIGN IDEOLOGY
HISTORICAL STREET PLAN OF THE MEDIEVAL CENTER
OF SANTIAGO IS OVERLAID ON TOPOGRAPHIC MAP OF
THE HILLSIDE SITE, WHICH OVERLOOKS THE CITY
MODERN CARTESIAN GRID IS
LAID OVER THESE MEDIEVAL
ROUTES.
TOPOGRAPHY OF THE HILLSIDE
DISTORTS THE TWO FLAT
GEOMETRIES, GENERATING A
TOPOLOGICAL SURFACE THAT
REPOSITIONS OLD AND NEW IN
A SIMULTANEOUS MATRIX
NEVER BEFORE SEEN
SANTIAGO’S MEDIEVAL PAST APPEARS NOT AS A FORM
OF REPRESENTATIONAL NOSTALGIA BUT AS A NEW YET
SOMEHOW FAMILIAR PRESENCE FOUND IN A NEW
FORM.
MUSEUM OF
GALICIA
INTERNATIONAL
ART CENTER
CENTER FOR MUSIC
AND PERFORMING
ARTS
GALICIAN ARCHIVES
SERVICES BUILDING
PEDESTRIAN
STREETS
PUBLIC PLAZA
BORDERED BY
THE SIX
BUILDINGS
LANDSCAPE AND WATER
ELEMENTS
MOVEMENT PATTERN

10. MEMORIAL
FOR
MURDERED
JEWS,
BERLIN

11. ALSO KNOWN AS THE HOLOCAUST MEMORIAL, IS A MEMORIAL IN BERLIN TO
THE JEWISH VICTIMS OF THE HOLOCAUST.
PROJECT STARTED IN APRIL 2003. IT
WAS INAUGURATED ON MAY 10’ 2005,
SIXTY YEARS AFTER THE END OF
WORLD WAR II
2711 CONCRETE STELAE (95
CM X 2.37 M)
HEIGHTS VARYING FROM LESS THAN A METER TO 4 METERS
MEMORIAL
FOR
MURDERED
JEWS,
BERLIN

12. CONCEPT
MEMORIAL
FOR
MURDERED
JEWS,
BERLIN

13. MEMORIAL
FOR
MURDERED
JEWS,
BERLIN
• NO SPECIFIC PATH TO
FOLLOW
• LONELINESS
• THE UNDERLYING IDEA
BEHIND THE MEMORIAL
WAS TO REDUCE THE
MEANING OF EXPERIENCE .
• THE MEMORIAL IS AN
ANALOGY TO EXPERIENCE
OF THE CAMPS
• BUT ALSO AN ANALOGY
TO THE IDEA OF BREAKING
DOWN THE RELATIONSHIP
BETWEEN EXPERIENCE
AND UNDERSTANDING.

14. Greater
Columbus
Convention
Centre

15. The Greater Columbus Convention Centre is a convention centre located in downtown Columbus,
Ohio, United States, along the east side of High Street.
The convention centre was designed by Peter Eisenman, constructed in 1993, and expanded in 1999.
These pavilions initiate long, curving volumes which extend back to the truck loading docks along the rear
the street facade these volumes coincide with meeting rooms, the grand ballroom, and eating facilities. In the main
exhibition space, however, they simply run above the supporting trusses without regard to the structural or spatial
grid below.
The general plan of the convention centre is quite simple and functional

16. Greater
Columbus
Convention
Centre

17. Greater
Columbus
Convention
Centre

18. HOUSE
VI
FORCEFUL
IMPOSITION
ON THE
DWELLERS..
A

19. Purposely ignoring the idea of
form following function,
Eisenman created spaces that
were quirky and well-lit, but
rather unconventional to live
with.
The design emerged from a
conceptual process that began
with a grid. Eisenman
manipulated the grid in a way
so that the house was divided
into four sections and when
completed the building itself
could be a “record of the design
process.”
VI
HOUSE

20. For instance, in the bedroom there is
a glass slot in the center of the
wall continuing through the floor that
divides the room in half, forcing there to
be separate beds on either side of the
room.
He made it difficult for the
users so that they would have
to grow accustom to the
architecture and constantly be
aware of it.
VI
HOUSE

21. Another curious aspect is an upside down
staircase, the element which portrays the
axis of the house and is painted red to
draw attention.
There are also many other difficult
aspects that disrupt conventional living,
such as the column hanging over the
dinner table that separates diners and the
single bathroom that is only accessible
through a bedroom.
Eisenman was able to constantly remind
the users of the architecture around
them and how it affects their lives.
HOUSE
VI

22. THANK YOU……